Eu te escrevo de um país distante: Ana C. e a poesia de Carlito Azevedo, Marcos Siscar e Marília Garcia

Abstract

In this thesis, we propose the reading of Luvas de pelica, a book by the Rio poet Ana Cristina Cesar, published in 1980. This book is made up of fragments: there are thirty-three blocks before the “Epilogue”, as the poet named the final fragmente. Although Luvas de pelica representes na importante piece for understanding Ana Cristina‟s poetic Project, as we try to demonstrate in our study, the poet‟s critical fortune has given it little attention. In order to highlight its importance, we will be interested in observing how the poet will engage in a dialogue with diferente artistic languages, Always having theoretical and poetic concerns about representation on her horizon. When turning to this issue, Ana Cristina will look for the mistakes and tricks, a word she will use very frequently in the book, inherent to this artistic process. Our Reading will mainly contemplate the relationship that Luvas de pelica establishes with postcards. We conjecture that the postcard, for more than one reason, is one of the structuring elements of the book. If not the only one, perhaps the main one. Reading this book will encourage the analysis of three Brazilian poets who began publishing between the end of the 1990s and the beginning of the 2000s: Carlito Azevedo, Marcos Siscar and Marília Gacia. Our analysis follows the central hypothesis of this study, wich can be formulated as follows: that we have not yet finished Reading Ana Cristina Cesar‟s poetry. In order to clarify a fundamental difference in the way in wich these three poets approach the work of he writer from Rio de Janeiro based on the diferente resumption of some poetic procedures, we will examine how certain poetry published in the 1980s, which maintained with Ana Cristina Cesar some type of dialogue, she was less interested in procedures than in references to the figure of Ana Cristina Cesar, references based on the astonishment that caused the sudden disappearance of the poet in 1983. In these examples, although there is exceptions, it is noted that, predominantly, it is the figure of the poet, and not the procedures used by her in her texts, that appears in this poetry from the 1980s. While Carlito‟s interest in “poetry-in-voices”, a constituent procedure of Ana Cristina‟s poetics, is demonstrated in her Livro das postagens (2016). With regard to Marcos Siscar‟s poetic production, we look at some of his poems published in more than one book, with the aim of observing how poet will re-propose the poetic address presente in Ana Cristina‟s poetry. In his re-proposition, Siscar will emphasize the idea of poetic straying, which was already presente in Ana Cristina, but giving it new layers. Finally, we will analyze the poetry of Marília Gacia in Parque das ruínas (2018) because we believe that in this book Marília carries out a kind of departure from poetry, but which, however, does not want to stop being a põem, na aspect that can also be located in Luvas de pelica.